The Nice
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Biography
[Edit]During much of their three years together, the Nice were more of a cult act than actual stars — but they eventually did find major success in England and an international following and, in the course of making some great records and playing even finer shows, they bridged the gap between mid-'60s psychedelic pop and '70s art rock, laying the groundwork for the entire progressive rock explosion in the process. And it was with the Nice that Keith Emerson began his transformation from an unknown musician into an international rock star. Ironically, the Nice's origins made them a seemingly unlikely cutting-edge outfit — they were initially conceived as a backup band, à la Booker T. & the MG's, for American-born soul singer P.P. Arnold, an ex-member of the Ikettes (who producer, manager, and music mogul Andrew Oldham hoped to make into the next Tina Turner). Keyboard player Keith Emerson had previously played in Gary Farr & the T-Bones, and the new group's rhythm section was filled by T-Bones alumni Lee Jackson on bass and Ian Hague on drums, while former Attack guitarist Davy O'List filled the fourth spot.
They got together in May of 1967 and soon found themselves given an unexpected amount of freedom in their role as Arnold's backing band. Part of their role was to warm up the crowd for Arnold's entrance, and the singer told them to play anything they liked — as a result, slipped in between covers of various soul standards was a brace of ever more ambitious originals composed by the group members, and soon their opening sets began building a following of their own. By that summer, the quartet had earned billing on its own at the National Jazz and Blues Festival, and by the fall of 1967 the group had a recording contract of its own with Oldham's Immediate Records. Hague, however, proved a weak link in their lineup, and by the time they were ready to formally begin recording, the drummer had been replaced by O'List's onetime Attack bandmate Brian Davison. They were an amazingly freewheeling outfit, in keeping with the times, playing a strange mix of psychedelic blues, heavily laced with cadenza-like solos on the piano or the Hammond organ, and dressed up in ornate, flashy guitar, reminiscent of Jimi Hendrix — amid the pop flourishes and heavy piano and guitar riffs, one could hear influences of classical, soul, and jazz. Their debut album was ready for release early in 1968 but was delayed getting into stores until much later in the year, at which point they had released a single to support it — their chosen track was a driving, flashy, instantly memorable instrumental rendition of the song "America" from the musical West Side Story, which got them lots of airplay and appeared to be a possible vehicle for the band's entry onto the U.K. charts — until, that is, objections were raised to a very tasteless picture-sleeve design, coupled with the complaint of composer Leonard Bernstein that the group had never gotten permission to revamp the piece, all of which contrived to limit sales in England and prevent a U.S. release of the single.
Their first year's worth of work had begun to build the group, and especially the extroverted personality of Emerson, a following in England. The organist would jam knives into his keyboards, set fire to various objects on-stage (including, at least once, at Royal Albert Hall, the American flag, creating a potential diplomatic incident for the government), and simulate sex with his instrument — by 1968 he was known as the Jimi Hendrix of the keyboard. The quartet's debut album, The Thoughts of Emerlist Davjack, managed to sound different from virtually anything else in music at the time — spooky organ solos and slashing guitar attacks ran together and clashed, and heavily veiled quotations from Dave Brubeck and Johann Sebastian Bach all seemed to trail out from in and around their songs, and pointed to something wonderfully strange about this band. They were working hard on their second album when guitarist Davy O'List, owing to personal instability, left the group in the early fall of 1968, and he wasn't replaced — instead, the Nice became a trio comprised of keyboard, bass (with a guitar added occasionally as needed, by a guest support player), and drums. Their sound tightened and also evolved in a new direction — the centerpiece of their second album, Ars Longa Vita Brevis, was the title suite, a rock-classical amalgam for band and orchestra that took up the whole second side — that work included an arrangement of one movement of the Bach Brandenburg Concerto No. 3. The other highlight was a band rendition of the intermezzo from The Karelia Suite by composer Jean Sibelius, and both of those classically inspired works dominated the record.
Released in November of 1968, just four months after their debut album, Ars Longa Vita Brevis garnered sterling reviews, but it died without a single to help promote the album. By this time, the group's manager, Tony Stratton-Smith, was wary of the financial underpinnings of their label, Immediate Records, which always seemed to have someone knocking on their door demanding payment for some long overdue invoice or other, and lots of people hanging around trying to spend the company's money. They went ahead with plans for a third LP, which initially was to have been a live album recorded at the Fillmore East during their early 1969 tour of the United States. In the end, that album, variously titled Nice or Everything as Nice as Mother Makes It (or, later, Nice #3), was a mix of live and studio performances that showcased the group working from strength to strength, and evolving even on the record itself. Gone were the obvious psychedelic flourishes of the first two albums — instead, they were intense and concentrated in their focus on jazz and classical elements, a lean music machine that surged and pounded away at their material, yet who were subtle enough to work in delightful little embellishments, and playful and clever as well. The record peaked at number three on the British charts, and suddenly the Nice were ranked among the top bands in the country. And they were sufficiently popular in Europe to have spawned a rival group in the Netherlands, patterned along the same lines, called Ekseption, organized by Nice admirer Rick van der Linden.
It was just about at the time of the third album's release that Immediate finally declared bankruptcy. Fortunately, Stratton-Smith had already started positioning the group to break away from Immediate at the first opportunity, which the bankruptcy provided. Additionally, the Nice had moved into wholly new artistic territory in 1969, rising to an odd plateau of success, when they received an actual commission — a formal, classical-type commission, and a first for a rock band — to deliver a work for rock group and orchestra to the Newcastle Arts Festival, a highly prestigious affair scheduled for the fall of that year. They rose to the occasion with "The Five Bridges Suite," which was performed at the Newcastle festival and later recorded at Croydon. Between that piece, some of the live recordings being generated, and some shorter studio works that were in various stages of completion, the Nice suddenly had a little breathing room in the form of two complete LPs' worth of high-quality material coalescing around their work. The Five Bridges, released on Stratton-Smith's new Charisma label in England and on Mercury in America, would become the group's biggest seller to date.
By that time, however, Emerson felt the group had gone about as far as it was ever going to musically, especially given the limitations he'd always found on the vocal side; Jackson was a limited singer and Emerson scarcely one at all (that's him singing lead on "Happy Freuds" from their second album). In late 1969, he'd crossed paths with newer band called King Crimson when the two shared a bill at the Fillmore West, and was impressed by their lead vocalist/bassist, Greg Lake; he also discovered, in turn, that Lake had been growing increasingly unhappy as a member of Crimson. He subsequently contacted Emerson and agreed to join up with him — thus, Emerson was already set to leave the band by the end of that winter, though the decision wasn't announced publicly until the spring. Meanwhile, the Nice soldiered on, playing some amazing shows that were captured on tape, and generating the Five Bridges album. Stratton-Smith followed it up after Emerson's split with the group by putting together Elegy, a compilation of live and studio performances from the band's late-era work that was a killer showcase for Emerson's playing. Both were released in America by Mercury Records and did reasonably well. In 1973, Stratton-Smith issued a third LP, known variously as Autumn to Spring or Autumn 1967/Spring 1968, consisting of alternate takes and mixes of songs from the group's first two LPs on Immediate.
In the decades since, thanks to Emerson's fame as a member of Emerson, Lake & Palmer and the Immediate bankruptcy, which placed its library in the hands of a succession of receivers who knew or cared little about music — and the intentions of well-meaning producers who did care about the music — the music on the Nice's three Immediate LPs turned up in various forms on vinyl and CD. The current reissues, in the 21st century, are the best representation that this end of the group's history has ever had on record. Jackson and Davison went on to various projects that never succeeded, and in 1973 tried to get a second bite of the apple by forming Refugee with keyboard player Patrick Moraz, but there was little interest in their sound or records, despite some fine music coming from them. By the end of the 1970s, with a change in public taste, even ELP had overstayed their welcome, and came to a halt. In 1999, as a one-off event on a personal occasion, Emerson, Jackson, and Davison played together for the first time in 29 years, and a live reunion album was released; Davison's death in 2008 put any further reunions out of reach. In the summer of 2009, Virgin/EMI, which controls the Charisma library, released a fresh round of upgrades and expansions of the group's 1969-1970 material, and also the double CD Fillmore East, made from long-lost tapes of their December 1969 shows at the latter venue.
Title: Les Génies Du Rock / Les Genies Du Rock
Artist: The Nice
Genre: Rock, Progressive Rock, Psychedelic Rock
Title: I've Been in My Mind - Single
Artist: The Nice
Genre: Hip Hop/R&B, Rap, World Music, Songwriter/Lyricist
Title: Steadytubbies - Single
Artist: The Nice, D, Jewelz Montalvo, Abbie Cotto
Genre: Hip Hop/R&B, Rap
Title: Why Don’t You Get A Job? / Why Don't You Get A Job?
Artist: The Nice
Genre: Dancefloor, Dance Pop
Title: Maak Soe (feat. Miss Celaneous & Homie-P) - Single
Artist: The Nice
Genre: Hip Hop/R&B, Rap, World Music
Title: Let's Get High (On the Music) - Single
Artist: The Nice, Tight Band
Genre: Hip Hop/R&B, Soul, Dancefloor, Dance Pop
Collections
Title: Guilt
Genre: Hip Hop/R&B, Rap
Title: 60's Psychedelia
Genre: Pop
Title: Super Dance 90's, Vol. 3
Genre: Electronica
Title: Bonzai Urban Trance, Vol. 1
Genre: Electronica, Dancefloor, Dance Pop
Title: Bonzai Urban - Retrospective
Genre: Electronica, Dancefloor, Dance Pop
Title: Remember 90's Vol.6
Genre: Dancefloor, Dance Pop
Title: WWW.Bonzaimusic.Com 2007
Genre: Electronica, Dancefloor, Dance Pop
Title: From Bonzai With Love 2007
Genre: Electronica, Dancefloor, Dance Pop
Title: Famille Electro Compilation .001
Genre: Dancefloor, Dance Pop
Title: The Tragedy Vol.1
Genre: Hip Hop/R&B, Rap
Title: Turn On the 60's Experience
Genre: Rock
Title: Micmac 360 Tour
Genre: Dancefloor, Pop, Dance Pop
Title: Fall Sampler 2013
Genre: House, Dancefloor, Dance Pop
Title: Menage a Trois (Jo Milli Presents)
Genre: Hip Hop/R&B, Rap, Soul
Title: Collection of Snorky Music!
Genre: Electronica, Dancefloor, Dance Pop
Title: Enjoy Nr. 1 Hits CD3
Genre: Pop
Title: Woodstock Generation (CD3)
Genre: Rock
Title: The Rock Ballads CD2
Genre: Pop
Title: Def Jam Music Group Inc.: 10th Year Anniversary (CD1)
Genre: Rap
Title: Def Jam Music Group Inc.: 10th Year Anniversary (CD2)
Genre: Rap
Title: Hip To The Hop 30th Anniversary
Genre: Hip Hop/R&B
Title: Hot Dance Vol. 254 (CD1)
Genre: Dancefloor, Dance Pop
Title: X Factor 2012 Compilation
Title: Navigatorz Fresh!! Indie Playlist November 2012
Genre: Indie Pop, Indie Rock
Title: Navigatorz Fresh!! Indie Playlist September 2012
Genre: Indie Pop, Indie Rock
Title: Immediate - The Singles Collection (CD4)
Genre: Rock, Progressive Rock, Psychedelic Rock, Pop
Title: Immediate - The Singles Collection (CD6)
Genre: Rock, Progressive Rock, Psychedelic Rock, Pop
Title: Best Alternative Indie - Pop - Rock 2012 (CD6)
Genre: Rock, Pop, Alternative, Indie
Title: Limes Abstract
Title: Theory Rebirth Hold
Genre: House, Techno, Electro, Club/Dance
Title: Greatest Hits Of The 60's (CD7)
Genre: Pop
Title: Aural Affairs Vol. 1 CD2
Genre: Jazz
Title: Rock Classics - Raised On Rock (CD1)
Genre: Rock
Title: Bar Tunes Vol. 4
Genre: Lounge
Title: Mojo Presents: Small Faces & Friends
Genre: Rock
Title: Discoteka 2014 Dance Club Vol. 125 (CD4)
Genre: Electronica, Dancefloor, Club/Dance, Pop
Title: The Grandmaster Flash Collection (CD1)
Genre: Hip Hop/R&B
Title: Hip Hop Golden Age Clasicos De Los 90s
Genre: Hip Hop/R&B
Title: Classic Rock # 023: Classic Cuts No. 19 - Bah Humbug
Genre: Rock
Title: Wow, That Was The 60's (CD7)
Genre: Rock, Rock & Roll, Pop Rock
Title: Hip Hop Gold (CD2)
Genre: Hip Hop/R&B
Title: Hip Hop - Gold (CD2)
Genre: Hip Hop/R&B
Title: The Ultimate Collection - Rock 100 Hits
Genre: Rock
Title: Great Rap Hits Vol. 4
Genre: Hip Hop/R&B, Rap
Title: Groove Terrace Vol. 04 20 Funky Deep-House Tunes
Genre: Deep House
Title: I Love Rock Vol. 2
Genre: Rock
Title: I Love Rock Vol. 3
Genre: Rock
Title: Remember 90's Vol. 6
Genre: Dancefloor, Club/Dance, Dance Pop
Title: Chasing Modern Breakes (CD1)
Title: Twiddling Tech House
Genre: Electronica, Techno, Tech House, Hip Hop/R&B, Death Metal, Dancefloor, Dance Pop
Title: Greatest Ever 60s Flower Power 3CD (CD3)
Genre: Rock, Folk Rock, Psychedelic Rock, Country, Pop
Title: Hip-Hop Legacy Vol. 10
Genre: Electronica, Tech House, Hip Hop/R&B, Death Metal
Title: Deep House Redux Vol. 2 (CD2)
Genre: Deep House
Title: Deep House Redux Vol. 2 (CD2)
Genre: Deep House, Techno, Nu Disco, Funk
Title: 100 Hits Rock Nostalgie (CD2)
Genre: Rock
Title: Deep House Collection Vol. 123 (CD3)
Genre: House, Deep House, Tech House, Club/Dance
Title: BacauHouseMafia Vol. 21 (CD3)
Genre: House, Deep House, Electro House, Vocal Trance, Tech House, Club/Dance
Featuring albums
Title: Microphone Militia: Boot Camp
Artist: Con-Artist Productions Presents
Genre: Hip Hop/R&B, Rap
Title: Poetic Justice: Music from the Motion Picture
Artist: Original Motion Picture Soundtrack
Genre: Pop
Title: Def Jam Music Group Tenth Year Anniversary Box Set
Artist: Various Artists
Genre: Hip Hop/R&B, Rap
Title: PC Pieces - Remixed By Friends
Artist: Laurent De Wilde, Otisto 23
Genre: Electronica, Jazz, Acid Jazz, Drum & Bass, Dancefloor
Title: Whole Lotta Love! Records -Song Book 2016-
Artist: Various Artists
Genre: Hip Hop/R&B, Rap, Alternative, J-Pop
Title: Rupture UK Presents: EDM Outlaws, Vol. 1
Artist: Various Artists
Genre: Dancefloor, Dance Pop
Title: Six Years Anniversary
Artist: Various Artists
Genre: Electronica, House, Techno, Dancefloor, Dance Pop
Title: Secrets of Electronic Music - Big Room Edition, Vol. 2
Artist: Various Artists
Genre: Dancefloor, Dance Pop
Title: Nothing But... Ibiza Summer 2018 Progressive
Artist: Various Artists
Genre: House, Dancefloor, Dance Pop
Title: Supafunkanova Vol.2 compiled by Joey Negro & Sean P
Artist: Joey Negro, Sean P
Genre: Hip Hop/R&B, Soul, Disco, Funk
Title: Miami 2018: Сlosed Party Sessions / Miami 2018: Slosed Party Sessions
Artist: Various Artists
Genre: House, Dancefloor, Dance Pop
Title: GR presents Most Listened 2019, Pt. 1
Artist: Various Artists
Genre: House, Dancefloor, Dance Pop
Title: GR presents Most Listened 2019, Pt. 2
Artist: Various Artists
Genre: House, Dancefloor, Dance Pop